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  • Bigbobgraham@aol.com
    ... Hi Melody: Each different object should be compared within itself. The colors of the cuff should be examined as to how they relate to each other, the
    Message 1 of 1 , Feb 24, 2003
      --- In meditationsocietyofamerica@yahoogroups.com, "Melody" <melodyande@c...>
      > Hi Bobby,
      > I've been looking at this. I get the essence of what you're saying
      > (if I'm hearing you correctly) about centering your focus on
      > relationships, rather than on the individual elements,
      > but I'm not quite sure I follow some of what you're saying.
      > Well you amplify a bit:
      > >Opening up visually is a
      > matter of making conscious comparisons between colors or shapes or
      > textures or lines or forms.

      > Using the left brain to 'name' what I'm seeing, I'm looking at a picture
      > of Osho's hands. (I just love that picture! LOL) Anyway, to describe
      > it: it consists of two hands, opened, stretching outwards. [you get
      > the jist of it now]
      > Now to open up visually, as you're suggesting, I should now notice
      > the color of his fingers (and how that color lightens and darkens
      > at different points on his fingers. And compare that to the color
      > of his finger nails, his cuff, and the color of the background?

      Hi Melody:

      Each different object should be compared within itself. The colors of the
      cuff should be examined as to how they relate to each other, the background
      to itself and so on.

      For the hands, first compare the shadow color with light, that is the areas
      where light falls most strongly and the areas of least light for both hands.
      Squint your eyes and see the areas struck by the light and compare that with
      the areas of least light. It is easier when you squint to see this
      comparison. It may be easier to start on one finger. The large masses of
      color that make up the light and shade is the most important division of

      On rounded objects the light disappears as the surface turns away from the
      light. There will be a middle value (color). Compare the three; light,
      shade, and middle value. Then compare the lightest value of a finger to
      the lightest value of another finger to see which is lighter. Make any
      comparisons you wish to analyze the picture. You will see which finger is
      darkest, what part of the finger has the darkest skin on it (if it is a
      really clear picture) and so on. You may just want to put your own hand in
      the light to do this.

      > How do you mean then when you say,
      > >....if you look for similarities in the field of observation you see
      > relationships within each of those fields. When you center only on
      > the relationships and never on individual elements an overview
      > manifests.
      > I'm stuck here. Help, please?

      Look for relationship of like kind. The abstract elements; shape color
      texture line and form. That is the field of observation. Don't look at one
      texture to see its nature but compare it with other textures. To depict it
      you must make it consistent in your picture. This separates each testure in
      the mind of the viewer from the other textures.

      Take grass leaves and bark with clouds and draw them with different types of
      strokes and the viewer will automatically assume the texture is there in the
      drawing. Cezanne did this well. He used the same technique for grass in all
      his landscapes and you know it is grass but it really does not look like
      grass. He was consistent though and spread his textures throughout his
      paintings in an artful way. Children do this very well too. Adults try to
      get to fancy and lose the overview.

      <A HREF="http://www.harshasatsangh.com/MagazineV2/artenergy1.htm">HarshaSatsangh</A>

      This article has some pointers in it about some of the same stuff. It also
      has a link to some of my paintings.

      I hope this helps. I think people need to learn to see better. A very
      magical thing happens in the relationships of color out of doors. When the
      hues are seen in the overview the colors get much brighter. Greys disappear
      because of something called Simultaneous Contrast. It is in that article
      Bobby G.

      > Melody

      [Non-text portions of this message have been removed]
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